• Damsels in Distress: British Women Film Directors and British Cinema Funding Post Millennium

      HOCKENHULL, STELLA (Intellect, 2015-03)
      On 28 March 2013, a small group of British female academics submitted written evidence of their findings to a Commons Select Committee concerning the dearth of British women film and television directors within the industry. Entitled Women in the Workplace (Conley et al. 2013), part of that report contained evidence from Directors UK, an organization formed in 2008 that calls itself ‘the voice of British film and television directors’ (Conley et al. 2013). A professional association with over 4,500 members, Directors UK explicitly expressed concern over the paucity of female film and television directors within the British media industry, although the period from 2000 to 2010 saw a rise in female film directors, reaching a peak in 2009, when they accounted for 17.2 per cent of British film directors overall. The increase coincides with the initiation of the UK Film Council (UKFC) and its changing policies concerning the encouragement of greater diversity and equal opportunities within the film industry. Within a historical context and in light of funding and UKFC policy, this article analyses its impact on women film directors in British cinema post-millennium.
    • Dark Monarchs: Gothic Landscapes in Contemporary British Culture

      HOCKENHULL, STELLA; Och, Dana; Strayer, Kirsten (Routledge, 2014)
      The ‘anxiety of a displaced – or displaceable – population’ that Jacques Derrida ... finds at the base of all ‘national rootedness’ is an anxiety the Gothic puts to work: threat of invasion from without produces Englishness within ... The English are displaced, figuratively if not physically: their Englishness admits of Otherness, and England itself becomes an alien nation (Schmitt: 3).
    • Deflowered Revolution: An Ethical Examination of Neo-Liberal Tactics of Pacification

      Altintzoglou, Evripidis; Altintzoglou, Euripides (Inter-Disciplinary Press, 2016)
      During the last two decades we have become familiar with new forms of protest. These new types of protest direct their discontent towards the system in ways that involve the general public, trying to affect change by spreading the feeling of discontent so that governments succumb to wider pressure. These forms of protest are radically different from a strike at a factory or a mine in that they do not affect only those immediately involved – e.g. the owner of a business or multinational companies and government bodies. To a certain extent radical forms of protest such as rioting and looting share this principle. More recently, the Tottenham riots (London, UK) led to widespread looting of retail stores and were heavily criticized for being driven by consumerist desire. This was the view propagated by the media, government officials and surprisingly by leading voices of the left (Bauman, Žižek, Hall). Although we should not be hasty in dismissing looting, we should question the nature of the tactics of any forms of protest that allow themselves to become suspiciously linked with consumerist desire. This is so, because the claim that a desire for goods is the overriding determining factor here aims precisely at deflating the political significance of these riots. By employing Alain Badiou’s model of Ethics we are in a position to deal with the root of the problem: what allows for riots that involve looting to be susceptible to the Evils (privations) posed by the accusations of being associated with consumerist desire? What does a public unrest of this nature need in order to avoid ideological demeaning (accusations of consumerist desire) and sustain their fidelity to revolutionary Truth?
    • Delivering Difficult Concepts Using Visual Representations

      Burns, J.; Gaura, Elena; Mount, Sarah; Newman, Robert; Woodcock, A. (Routledge (Taylor & Francis), 2005)
      This work is an exercise in the use of 3-D animation for the communication of complex scientific subjects. An animation was produced to explain some of the more complex and abstract issues involved in the design of wireless sensor networks. The vehicle for this was a future planetary exploration expedition, which was predicated on current research in the field. The animated film was made, and displayed to a variety of audiences. Assessments were then made, through interviews, of the extent to which audiences had assimilated the principles of the technology behind the scenario which they had viewed.
    • Delmer Daves’s 3:10 to Yuma: Aesthetics, Reception and Cultural Significance’

      Pheasant-Kelly, Frances; Carter, Matthew (Edinburgh University Press, 2016-05)
      From Destination Tokyo (1943) to Youngblood Hawke (1964), among many other films, few filmmakers created as unique a body of work in the US as Delmer Daves (1904-1977), but few filmmakers have been as critically overlooked in existing scholarly literature. Daves is often regarded as an embodiment of the self-effacing craftsmanship of classical and post-war Hollywood, which helps explain his relative neglect by film critics and scholars. As the first study of Daves's career, this collection in the ReFocus series seeks to deepen our understanding of the filmmaker and problematize existing conceptions of him as a competent by conventional studio man. Part of the ReFocus: The American Directors Series, which aims to bring influential, yet neglected, American directors to the attention of a new audience of scholars and students.
    • The Demise of the cinematic zombie: from the golden age of Hollywood to the 1940s

      Fenton, Louise; Degiglio-Bellemare, Mario; Ellbé, Charlie; Woofter, Kristopher (Lexington Books, 2014-12-11)
      The 1940s is a lost decade in horror cinema, undervalued and written out of most horror scholarship. This collection revises, reframes, and deconstructs persistent critical binaries that have been put in place by scholarly discourse to label 1940s horror as somehow inferior to a “classical” period or “canonical” mode of horror in the 1930s, especially as represented by the monster films of Universal Studios. The book's four sections re-evaluate the historical, political, economic, and cultural factors informing 1940s horror cinema to introduce new theoretical frameworks and to open up space for scholarly discussion of 1940s horror genre hybridity, periodization, and aesthetics. Chapters focused on Gothic and Grand Guignol traditions operating in forties horror cinema, 1940s proto-slasher films, the independent horrors of the Poverty Row studios, and critical reevaluations of neglected hybrid films such as The Vampire’s Ghost (1945) and “slippery” auteurs such as Robert Siodmak and Sam Neufield, work to recover a decade of horror that has been framed as having fallen victim to repetition, exhaustion, and decline.
    • Demonstrating the SIDSYNTH: an 8-bit synthesizer combining obsolete and open hardware

      Hassell, Rob; Dalgleish, Mat (Coventry University, 2018-10-25)
      After the introduction of programmable sound generator integrated circuits (ICs) in the 8-bit video game hardware of the 1980s, the industry quickly moved on to more sophisticated sound generation methods such as frequency modulation (FM) synthesis and CD-quality audio file playback. Nevertheless, if once largely forgotten, the last decade has seen a significant and sustained revival of interest in the early video game sound technologies, and the rise of a vibrant ‘chiptunes’ community intent on exploring their distinctive musical possibilities. Developed by Rob Hassell between May 2017 and May 2018 as part of the BA (Hons) Music Technology programme at the University of Wolverhampton, SIDsynth is a multi-voice chiptunes synthesizer based around the use of obsolete MOS Technology 6581/8580 Sound Interface Device (SID) chips; a specialised IC originally found in the Commodore 64 computer. Despite the age of the SID chip, the SIDsynth draws heavily on contemporary developments and could arguably not have existed until relatively recently. Online marketplaces enable increasingly scarce and revered second-hand ICs to be sourced from individual sellers worldwide. Dedicated enthusiasts have made crucial but previously rarely accessible technical documentation freely available in online repositories such as SIDmusic and archive6502. Additionally, by using open source and low-cost Arduino microcontrollers to interface otherwise disparate elements (three SID ICs, contemporary computer hardware and a physical user interface), the project has been able to benefit from the Arduino platform’s extensive documentation and community expertise.
    • Design for Behaviour Change

      Cooper, Rachel; Niedderer, Kristina; Clune, Stephen; Ludden, Geke (Routledge, 2017-03)
    • Design for Behaviour Change as a Driver for Sustainable Innovation: Challenges and opportunities for implementation in the private and public sectors

      Niedderer, Kristina; Ludden, Geke; Clune, Stephen; Lockton, Dan; Mackrill, James; Morris, Andrew; Cain, Rebecca; Gardiner, Edward; Evans, Martyn; Gutteridge, Robin; et al. (Chinese Institute of Design, 2016-08-31)
    • Design is practice and theory, not practice with theory

      Marshall, Lindsey; Austin, Marc (University of Wolverhampton, 2003)
    • Design Probes for People with Dementia

      Garde, Julia Anne; Van Der Voort, Mascha Cécile; Niedderer, Kristina (Design Research Society, 2018-06-25)
      In order to include persons with dementia in the MinD project actively, design probes were developed to provide insight into their perspectives. We applied probes due to their exploratory character and participation through self-documentation. The aim of this paper is to reflect on the design of the probes in relation to the outcomes as a source of inspiration for designers. More specifically, we investigate the openness and tangibility of the probes, and their content relating to the past, the current or the future. The five participants completed the probes to a large extent. The openness of assignments influenced their completion and the resulting value for empathizing and inspiration for designers: More defined assignments led to more sharing of personal and sensitive information than very open ones. While crafty, tangible assignments were filled in more extensively than less tangible ones, the classical writing assignments resulted more often in more introspective and reflective information from participants. Furthermore, participants filled in assignments about past memories more extensively than those relating to future goals.
    • Design Under the Gun

      Davies, Colin; Parrinder, Monika (F+W Publications, Inc, 2006)
      The authors were commissioned to write an article looking at Product Design post-9/11. The article questioned whether an aesthetic of violence had taken root, promoting a new criticality amongst product designers.
    • Designing a Highly Expressive Algorithmic Music Composition System for Non-Programmers

      Bellingham, Matt; Holland, Simon; Mulholland, Paul (2016)
      Algorithmic composition systems allow for the partial or total automation of music composition by formal, computational means. Typical algorithmic composition systems generate nondeterministic music, meaning that multiple musical outcomes can result from the same algorithm - consequently the output is generally different each time the algorithm runs
    • Designing a sensibility for sustainable clothing

      Hackney, Fiona; Saunders, Clare; Willett, Joanie; West, Jodie; Hill, Katie (Environmental Audit Committee, 2018-10-10)
    • Designing craft research: Joining emotion and knowledge

      Townsend, Katherine; Niedderer, Kristina (Intellect, 2014-12-01)
      This paper considers how both craft and research can be joined in the enterprise of craft research. The rationale is that craft research is still relatively new compared to mainstream design research and that craft, being linked to the creation of artefacts as a source of experience and emotion, is not usually associated with research and the production of knowledge. The paper discusses the emerging need for creative research in the crafts based on sensibilities of material understanding and human values, which contrast with the current strictures of research. Drawing on current models of design research and knowledge, the paper proposes experiential knowledge as the unifying conceptual underpinning of both. The outcome and contribution of the paper is a better understanding of the relationship of craft and research, and of the value of research for advancing craft as a discipline that is viable and relevant for the future.
    • Designing hypermedia documentation for safety critical training applications

      Newman, Robert (Taylor & Francis, 2001)
      This paper discusses the requirements for authoring methodologies for large multimedia systems to be used for technical education documentation in the domain of "safety critical" industries and presents work which contributes to the development of a methodology for their design. Such documentation is typically required to serve both for training purposes and for direct support of engineers in the field. This dual-purpose nature means that documents are typically complex with multiple navigation paths. The documentation used to train for and support maintenance and repair may itself be safety critical, in that incorrect documentation can lead to incorrect maintenance procedures. Research into "industrial strength" hypermedia has tended to concentrate on the issues of robustness and data integrity, while the issues of design methodologies for such systems have not received as much attention. These issues include those of the verifiable correctness of such systems, both in terms of their content and other issues such as sequence of presentation. It is argued that the addressing of these issues is essential to the development of technical documentation systems that are of sufficient quality to be used for safety critical applications such as within the transport industry. The requirements that viable design methodologies for these applications must address are discussed, and a methodology is proposed, based on traditional authoring methods and process algebra-based formal specification and verification.
    • Designing Mindful Interaction: the Category of the Performative Object

      Niedderer, Kristina (MIT Press, 2007)
      This research is concerned with design as a means for creating mindful interaction through the use of objects in social contexts. The assumption is that artifacts can stimulate the user’s behavior by means of their function, thus causing mindful reflection and interaction. At the core of the study was the identification of a new category of products with these qualities of interaction, termed “performative objects.” The paper presents part of a larger study.1 It presents a summary of the research problem and the concept development, testing, and considerations on the usefulness of the proposed concept for design.
    • Designing mindful intuitive interaction for people with dementia in everyday social contexts

      Niedderer, Kristina; Gutteridge, Robin; Dennett, Chris (Design Research Society and Queensland University of Technology, 2015-11)
    • Designing with and for People with Dementia: Developing a Mindful Interdisciplinary Co-Design Methodology

      Niedderer, Kristina; Tournier, Isabelle; Coleston-Shields, Donna Maria; Craven, Michael; Gosling, Julie; Garde, Julia A.; Salter, Ben; Bosse, Michaelle; Griffioen, Ingeborg (University of Cincinnati, 2017-10-31)
    • Desires for Reality: Radicalism and Revolution in Western European Film

      Halligan, Benjamin (Berghahn Books, 2016-02)
      What was the progressive cinema of the 1960s? In the absence of any generally agreed definitions, differing ideas abound, originating from two areas: firstly, the critical/academic histories of 1960s cinema, and secondly the conception of a ‘progressive cinema’ that is apparent in a number of 1960s films. The initial point of departure for this study is the conflict that arises between these two areas: the progressive cinema of the 1960s, as articulated in its own artefacts, does not always fully support, verify or validate the idea of a progressive cinema of the 1960s to be found in critical/academic histories. This disparity will be used to orientate this study as it seeks to expand the parameters of the critical/academic histories in order to identify and conceptualise, in a sustained way, the progressive cinema of the 1960s.